The Short Story

While storytelling has existed as long as humans have, many critics pinpoint the nineteenth century as the era when the short story emerged as a distinct genre of written prose literature, consciously crafted as an art form. Before this period, Western literature was dominated by epic tales, orally recited or improvised, narrative poetry, drama, and novels. However, it wasn't until the early 1800s that critics began to recognize the short story as a unique art form with its own set of rules and structures. In Europe, writers like Honore de Balzac were already experimenting with and theorizing about this new form. An early American contributor to this discussion was Edgar Allan Poe. In 1842, he reviewed Nathaniel Hawthorne's Twice-Told Tales, a collection of thirty-nine short stories and sketches, many of which had supernatural themes. In this influential review, Poe outlined the distinctions he saw between poetry, novels, and the "short prose narrative."

Poe regarded rhymed poetry as the highest literary genre. However, he believed that the "tale proper" offered the best opportunity for showcasing the highest literary talent within the realm of prose. He argued that novels were inferior because they couldn't be read in one sitting, thus failing to maintain a "unity of effect or impression." According to Poe, the ideal short story should be readable in thirty minutes to two hours and should aim to produce a single, unified effect. He stated, "If a writer's very initial sentence does not tend toward this effect, then he has failed in his first step. In the entire composition, there should be no word written whose tendency, direct or indirect, is not toward the one pre-established design." Poe praised Hawthorne and Washington Irving for their mastery of this new form and adhered strictly to the goal of the "single effect" in his own works. Consequently, his prose is almost exclusively in the short story format, with each story featuring a limited number of characters, simple plots, confined settings, and short time frames, as exemplified in "The Cask of Amontillado."

National Literature

In the early nineteenth century, there was a strong push for Americans to cultivate a national literature. This meant creating works authored by Americans, published in America, and centered around distinctly American characters, settings, and themes. At the time, the United States was still a young nation, and many American readers and writers looked to Europe for inspiration, both in terms of great books and notable authors, as well as literary styles and topics. In 1837, Ralph Waldo Emerson delivered a significant address titled "The American Scholar," in which he urged Americans to blend the best European ideas with a deep self-awareness. This, he argued, would forge a new American intellect capable of leading the nation. Writers and publishers hoped that this call for a national literature would bolster the market for their works, which were being outshone by European imports.

Edgar Allan Poe, like many of his peers, struggled to make a living through his writing but did not fully support the movement. On one hand, his published critiques and reviews condemned those who merely imitated popular European authors. On the other hand, he also disapproved of overly patriotic writing that offered trite praise of the United States without artistic value. Poe criticized the tendency to laud subpar works simply because they were American. Similar to Emerson, Poe believed in incorporating European elements if they served an artistic purpose and felt that international settings contributed to a work's universal appeal. Nonetheless, he encouraged American writers to use their creativity to produce original and dynamic works. In "The Cask of Amontillado," for instance, Poe employed a European setting to create an exotic and mysterious atmosphere, all within the framework of the new and uniquely American short story form.

In the early nineteenth century, there was a significant push for Americans to cultivate a national literature. This meant creating a collection of works authored by Americans, published domestically, and centered on distinctly American characters, settings, and themes. At that time, the United States was still a relatively young nation, and many American readers and writers turned to Europe for inspiration, seeking great books, renowned authors, and established literary forms and themes. In 1837, Ralph Waldo Emerson delivered a notable address titled "The American Scholar," urging Americans to blend the best of European ideas with a strong sense of self-awareness. He believed this would foster a new American intellectual capable of leading the nation. Writers and publishers hoped that this call for national literature would boost the market for their works, which were being overshadowed by European imports.

Although Poe faced similar challenges in making a living through writing as his peers, he did not fully support the movement. On one hand, his published critiques and reviews condemned writers who merely imitated popular European authors. On the other hand, he also disapproved of overly patriotic writing that offered clichéd praise of the United States without artistic value. Poe was critical of those who praised subpar work solely because it was American. Like Emerson, Poe believed in incorporating European elements if they served an artistic purpose, and he felt that international settings could enhance universality. Nevertheless, he urged American writers to use their creativity to produce original and vibrant works. In "The Cask of Amontillado," for instance, he employed a European setting to craft an exotic and mysterious atmosphere, while adhering to the new and distinctly American short story form.

1830s: The Anti-Masonic political party is established in the United States to challenge the perceived political influence of the Free and Accepted Masons. This marks the emergence of the first significant third party in American history.

1990s: Boasting six million members but lacking a central authority, the Free and Accepted Masons have a presence in nearly every English-speaking country, including a substantial membership in the United States. They are primarily recognized for their social activities and community service rather than for political involvement.

1840s: Edgar Allan Poe, despite not completing college, is proficient in Latin, French, German, Italian, and Spanish. He expects his readers to have a basic understanding of Latin and French.

1990s: Most American college graduates have studied a foreign language for two years or less.

1840s: Writers express concern that Americans lack the attention span needed for lengthy fiction. Poe comments, "We now demand the light artillery of the intellect; we need the curt, the condensed, the pointed, the readily diffused in place of the verbose, the detailed, the voluminous, the inaccessible."

1990s: Educators and parents lament that young people, accustomed to televisions and computers, prefer short, visual forms of information over prolonged reading. Politicians criticize voters for being uninterested in complex arguments, favoring "sound bites" instead.